|Poster:||MPDMedia||Date:||Sep 1, 2018 1:52pm|
|Forum:||texts||Subject:||Re: MISSING PAGES IN PDF BOOK|
Here is page 59 in txt format:
Now, let us first state quite clearly that we have to use positions higher than the third: and that, in those positions, the body of the violin does prevent the hand from functioning in exactly its former position.
But this fact does not mean that we must discard the principles that we have already learned. They are certainly not vitiated by the physical fact that the body of the instrument juts out sideways from the neck. The knuckle must still be kept in the striking-plane: the thumb must continue to support the violin. But, for the higher positions, we must arrange the hand so that it passes round the body of the instrument.
Let us first take the positions, and then go into the matter of shifting from one to another.
There is a preliminary observation to be made here. Within the limits of each position there is one series of available notes. And the student is earnestly desired to make a study of what these notes are in all the positions, so that he may never be at a loss to know the fingering of any note in any position.
If this study is undertaken—and it can quite well be made away from the instrument—he will gain an instinctive appreciation of the location of all the notes that are across the strings, but in the same position. He will have, in fact, a sort of group-perception for each position.
As an example: he will instantly sense the fact that, after having played E-flat with the third finger on the G-string in the third position, the note D-flat on the E-string is played by the fourth finger very close to the place where the third finger would lie if it were moved straight over to the E-string.
A second example will bring home to him the importance of training the fingers to move straight across the finger-board, without getting too high or too low. Thus, if he plays the four notes E-flat, B-flat, F, C, on the four strings with one finger, it is essential that the tip of that finger should, in each case, be at exactly the same distance from the bridge.
We now have to investigate the method by which the knuckle is kept in the striking-plane while passing through the higher positions.
Plate 29 shows the hand posed for the first three positions.
Plate 30 shows the knuckle still in the striking-plane, while the wrist has been drawn back from the knuckle to make way for the body of the violin.
Plate 31 shows the wrist drawn back. But, as the action has pivoted round the finger-tip instead of round the knuckle, the latter is moved completely out of the striking-plane.
One of the bad consequences of this false position is that the fingertips descend to the string nail-first. The result is so much discomfort and inconvenience, that the third joint is frequently straightened in order to seat the finger—an uncomfortable position that is shown in Plate 32.
The student may very profitably pose the left-elbow on a table; and, taking Plates 29 and 30 for his models, practise moving the left-wrist backwards and forwards, until the movement can readily be made from the knuckle, without disturbing the finger or moving the knuckle out of the striking-plane.
The hand mounts from position to position. And, after the third position has been passed, the thumb is drawn round the neck; until, in the very highest positions, that part of it which lies between the third joint and the extreme tip supports the instrument.
At present the student need go no further with the thumb-technique. But he should now experiment with the higher positions, bearing in mind the fact that, notwithstanding the changed position of thumb and wrist, the violin still rests on the thumb. Thus, there is complete freedom for its adjustment to the rest of the hand.
At this stage some experimenting must be made with the higher positions. This is necessary before we face the added complication of shifting smoothly from one position to another. But it must be remembered that a knowledge of the positions practically means for us a knowledge of the extent to which the wrist is drawn back and the thumb drawn under.
It is therefore best, now that the student is familiar with the first three positions, to begin—not with the fourth, in which the difference is very slight—but with a higher position, such as the seventh, the one in which the first finger rests upon the octave of the string. The difference in the wrist and thumb positions is here sufficiently great to be easily appreciated. And from this position the student may work down to the third and up to the highest.
The logical course for him is simply to play the notes in the seventh position, noting carefully on what part of the thumb the violin may be conveniently supported; how far back the wrist is projected, and whether the knuckle is in the striking-plane.
During the exercise the violin should be lowered several times, and